DOCSLIB.ORG

Program Notes Chicago Humanities Festival 2009

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Chicago Humanities Festival 2009 Laughter Guerrilla Girls Thursday–Saturday, Marga Gomez November 10–14, 2009 Don Byron Photo by Cori Wells Braun mcachicago.org Chicago Humanities Festival 2009 Welcome Laughter Titles will be announced on stage from the following The Chicago Humanities Festival (CHF) Have you been on the CHF website lately? song list: and the MCA, Chicago, welcome you to the Newly launched in August 2009, the CHF website Tuesday, November 10 20th-annual festival. offers lectures, slideshows, and materials from Prologue: Guerrilla Girls CHF’s 20-year archive. Programs included in the . shed no tears before the rain (Don Byron) CHF creates opportunities for people of all ages Feminist Masked Avengers 2009 festival will become available in the late fall and to support, enjoy, and explore the humanities. The Frailach Jamboree (Mickey Katz) winter. Commentary, including blogs and ongoing Wednesday, November 11 organization accomplishes this by creating annual conversations, are a central feature of the site. Create Marga Gomez Haim Afen Range (adapted from Home on the Range, fall and spring festivals, by presenting programs an account, share a festival itinerary, and join the Long Island Iced Latina traditional) throughout the year that encourage the study and conversation at chicagohumanities.org. enjoyment of the humanities, and by maintaining an Directed by David Schweizer Mamaliege Dance (Nat Farber and Mickey Katz) online home for the humanities community on its Sweet and Gentle (Monterrey Portal and George Saturday, November 14 website. Thorn) Don Byron This year’s festival, titled Laughter, includes more The Music of Mickey Katz Litvak Square Dance (Mickey Katz) than 90 events at 19 venues around Chicago’s Loop Don Byron, clarinet and emcee C’est Si Bon (Jerry Seelen, Henry Betti, and and Hyde Park neighborhoods, and features con- JD Parran, woodwinds Andre Hornez) certs, theater performances, exhibits, discussions, Charles Lewis, trumpet Trombonik Tanz (Nat Farber and Mickey Katz) lectures, and films. For more information and tickets Jacob Garchik, trombone visit chicagohumanities.org or call the box office at Bar Mitzvah Special (Louis Singer and Nat Farber) Todd Reynolds, violin 312.494.9509. Daniel Kelly, piano Dreidel Song (traditional) Join us for Stages, Sights & Sounds, CHF’s Kenny Davis, bass Seder Dance (Mickey Katz, adapted from Sabre Dance Ben Wittman, drums by Khachaturian) nationally-recognized spring festival. Jack Falk, lead vocal Its more performance-based programming appeals with Michael Kozakis, xylophone Paisach in Portugal (adapted from April in Portugal by Raul Ferrao and Jimmy Kennedy) to a wide audience, including children and families. The 11th Stages, Sights & Sounds (formerly known Berele’s Sherele (Benny Gill and Nat Farber) as the Chicago Children’s Humanities Festival) will Kiss of Meyer (adapted from Kiss of Fire by Lester Allan take place in May 2010 at several of Chicago’s favor- and Robert Hill) ite theater venues, including the MCA. Please check the CHF website at chicagohumanities.org for more Wedding Dance (Mickey Katz) information in early 2010. 16 Tons (Ernie Ford) Sunrise, Sunset (Sheldon Harnick) Marga Gomez and Don Byron are presented by the Chicago Humanities Festival in partnership with the Museum of Contemporary Art, Chicago. Guerrilla Girls are presented by the Chicago Humanities Festival in partnership with the Museum of Contemporary Art, Chicago; Ellen Stone Belic; and Ellen Stone Belic Institute for the Study of Women and Gender in the Arts and Media, Columbia College Chicago. Marga Gomez’s Long Island Iced Latina was originally produced by the Puerto Rican Traveling Theatre. 2 3 About the artists veiling of anti-film industry billboards in Hollywood timed with the Academy Awards; large-scale projects for the Venice Biennale, Istanbul, and Mexico City; and a non-appearance in 2007 at the Museum of Modern Art-organized symposium Feminist Future: Theory and Practice in the Visual Arts. They have examined the museums of Washington DC in a full- page article in the Washington Post, and exhibited large-scale posters and banners in Athens, Bilbao, Rotterdam, Sarajevo, and Shanghai. From the book Confessions of the Guerrilla Girls Excerpted from an interview by anonymous Q. How did the Guerrilla Girls start? Kathe Kollwitz: In 1985, The Museum of Modern Art in New York opened an exhibition titled An Image © Guerrilla Girls. Courtesy guerrillagirls.com Image © Guerrilla Girls. Courtesy International Survey of Painting and Sculpture. It was Guerrilla Girls supposed to be an up-to-the minute summary of the is a group of anonymous, radical feminist artists ded- most significant contemporary art in the world. Out icated to exposing sexism, racism, and corruption of 169 artists, only 13 were women. All the artists in the art world, film industry, and popular culture. were white, either from Europe or the US. That was Adopting the names of dead female artists like Frida bad enough, but the curator, Kynaston McShine, said Kahlo and Kathe Kollwitz, they are best known for any artist who wasn’t in the show should rethink “his” Akram Khan their creative postering campaigns and public ap- career. And that really annoyed a lot of artists be- pearances wearing full jungle drag. cause obviously the guy was completely prejudiced. Women demonstrated in front of the museum with Guerrilla Girls have appeared at more than 90 uni- Company the usual placards and picket line. Some of us who versities and museums, as well as in the New York attended were irritated that we didn’t make any im- bahok Times, the Washington Post, the New Yorker, Bitch, and pression on passersby. Friday–Sunday, February 26–28 Artforum; on National Public Radio, the BBC and Driven by Nitin Sawhney’s pulsating score CBC; and in many art and feminist texts. They have Meta Fuller: We began to ask ourselves some ques- Powerful . Khan captures both the exhilaration authored stickers, billboards, posters and other proj- tions. Why did women and artists of color do better and the desolation of a world on the move. ects, as well as several books including The Guerrilla in the 1970s than in the 1980s? Was there a backlash —the guardian Girls’ Bedside Companion to the History of Western Art in the art world? Who was responsible? What could and Bitches, Bimbos and Ballbreakers: The Guerrilla be done about it? For tickets, call 312.397.4010 Girls’ Guide to Female Stereotypes. O;cial Airline of Q. What did you do? the Museum of or visit mcachicago.org. They are part of Amnesty International’s Stop Contemporary Art Frida Kahlo: We decided to find out how bad it was. Violence Against Women Campaign in the United After about five minutes of research we found that bahok is made possible by the MetLife Community Connections Fund of the National Dance Project, a program administered by the New England Foundation Kingdom and are exploring possible activities with for the Arts. Major support for the National Dance Project is also provided by the Doris Duke Charitable Foundation with additional support from the Ford it was worse than we thought: the most influential Foundation and the Andrew W. Mellon Foundation. Greenpeace. Their campaigns have included the un- galleries and museums exhibited almost no women Photo by Hugo Glendinning 5 artists. When we showed the figures around, some proud of having put up broad sheets in bathrooms of Teatro Stagefest, the National Hispanic Cultural said it was an issue of quality, not prejudice. Others major museums. Center in New Mexico, The Marsh in San Francisco, admitted there was discrimination, but considered as well as Princeton University, Central Michigan Rosalba Carriera: We send secret letters to egregious the situation hopeless. Everyone in positions of University, and the College of Staten Island. offenders, often honoring them with bogus awards. power— curators, critics, collectors, the artists We gave John Russell of the New York Times an award Her collaboration with Carmelita Tropicana on Single themselves—passed the buck. The artists blamed for The Most Patronizing Art Review of 1986, when Wet Female has been produced in New York at the the dealers, the dealers blamed the collectors, the he reviewed Dorothy Dehner’s show and called her Public Theater, the 47th Street Theater, Performance collectors blamed the critics, and so on. We decided “Mrs. David Smith,” referring to her famous sculptor Space 122, Dixon Place, and La Mama ETC, and to embarrass each group by showing their records in husband (they had been divorced for years). she has appeared in productions of The Vagina public. Those were the first posters we put up in the Monologues Off Broadway and with national com- streets of SoHo in New York. Q. Have you ever been accused of discrimination panies, working alongside Rita Moreno and Jo Beth Q. Why are you anonymous? yourselves? Williams. Her screen credits include HBO’s Tracy Takes On . , the Warner Brothers’ filmsBatman GG1: The art world is a very small place. Of course, Alma Thomas: Yes. Menopausal women felt we were Forever and Sphere, and the independent filmsRosa we were afraid that if we blew the whistle on some making fun of them by titling our newsletter Hot Negra and The D Word. Gomez was “prisoner num- of its most powerful people, we could kiss off our art Flashes from the Guerrilla Girls. I guess they didn’t ber two” in one episode of the beloved soap opera careers. But mainly, we wanted the focus to be on the know the Girl who named it was having them herself. Guiding Light. issues, not on our personalities or our own work. KK: One male journalist is still threatening to sue us Lee Krasner: We joined a long tradition of (mostly Her television appearances include the LOGO for charging white males a higher subscription rate male) masked avengers like Robin Hood, Batman, Network’s One Night Stand-Up, HBO’s Comic Relief, to Hot Flashes than women or artists of color.
Recommended publications
  • Vanderhoef Studio Theatre, Mondavi Center

    Vanderhoef Studio Theatre, Mondavi Center

    Mika Pelo and kurt rohde, co-directors Vanderhoef Studio Theatre, Mondavi Center Vanderhoef Studio Theatre, Mondavi Center The DeparTmenT of music presenTs The Empyrean Ensemble Mika Pelo and Kurt Rohde, Co-directors Americans in Rome Pre-concert talk: 6pm, moderated by Kurt Rohde Program Mu for Solo Violin (2007) Keeril Makan (b. 1972) Piano Etude No. 5 from 7 Piano Etudes (2008–09) Don Byron (b. 1957) Bird as Prophet for Violin and Piano (1999) Martin Bresnick (b. 1946) Piano Etude No. 2 from 7 Piano Etudes (2008–09) Don Byron Song for Andrew for Piano Quartet (2008) Laura Schwendinger (b. 1962) Intermission Three Phantasy Pieces for Viola and Percussion (2005) Claude Baker I. J.B. (b. 1948) II. R.S. III. H.B. Piano Etude No. 3 (a la Suzanne Vega) from 7 Piano Etudes (2008–09) Don Byron Dusk from The Book of Hours for Piano Trio (2000) Martin Brody (b. 1949) Piano Etude No. 6 from 7 Piano Etudes (2008–09) Don Byron Mu for Solo Violin (2007) Keeril Makan Hrabba Atladottir, violin; Ellen Ruth Rose, viola; Michael Graham, cello; Chris Froh, percussion; Michael Seth Orland, piano Sunday, January 23, 2011 • 7:00 pm Vanderhoef Studio Theatre, Mondavi Center 3 NOTES Mu (2007) for prepared violin: some meanings of Mu (according to Wikipedia): · Micro- the prefix signifying one millionth. · In Zen Buddhism, a word that can mean neither yes nor no. · The twelfth letter of the Greek alphabet, which was derived from the Egyptian hieroglyphic symbol for water. · The name of a hypothetical continent that allegedly existed in one of Earth’s oceans but disappeared at the dawn of human history.
  • Myra Melford & Snowy Egret Language of Dreams

    Myra Melford & Snowy Egret Language of Dreams

    Saturday, November 19, 2016, 8pm Zellerbach Hall Myra Melford & Snowy Egret Language of Dreams Conceived and composed by Myra Melford Myra Melford’s Snowy Egret Myra Melford, piano, melodica, and sampler Ron Miles, cornet Liberty Ellman, guitar Stomu Takeishi, acoustic bass guitar Tyshawn Sorey, drums David Szlasa, video artist and lighting design Oguri, dancer and choreography Sofia Rei, narrator/spoken text Hans Wendl, artistic direction and production Texts excerpted from Eduardo Galeano’s Memory of Fire (Memoria del Fuego ) trilogy: Genesis (1982) Faces and Masks (1984) Century of the Wind (1986) Copyright 1982, 1984, 1986 respectively by Eduardo Galeano. Translation copyright 1985, 1987, 1988 by Cedric Belfrage. Published in Spanish by Siglo XXI Editores, México, and in English by Nation Books. By permission of Susan Bergholz Literary Services, New York, NY and Lamy, NM. All rights reserved. e creation and presentation of Language of Dreams was made possible by Yerba Buena Center for the Arts, a Guggenheim Fellowship, the Doris Duke Performing Artist Award, and a University of California Faculty Research Grant. Jazz residency and education activities generously underwritten by the Thatcher-Meyerson Family. n e s i o B s e l y M Myra Melford (far right) with Snowy Egret Language of Dreams I Prelude e Promised Land Snow e Kitchen II e Virgin of Guadalupe A Musical Evening For Love of Fruit/Ching Ching III Language IV Times of Sleep and Fate Little Pockets/Everybody Pays Taxes Market e First Protest V Night of Sorrow Day of the Dead e Strawberry VI Reprise – e Virgin of Guadalupe This performance will last approximately 75 minutes and will be performed without intermission.
  • Concerts from the Library of Congress 2012-2013

    Concerts from the Library of Congress 2012-2013

    Concerts from the Library of Congress 2012-2013 LIBRARY LATE ACME & yMusic Friday, November 30, 2012 9:30 in the evening sprenger theater Atlas performing arts center The McKim Fund in the Library of Congress was created in 1970 through a bequest of Mrs. W. Duncan McKim, concert violinist, who won international prominence under her maiden name, Leonora Jackson; the fund supports the commissioning and performance of chamber music for violin and piano. Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. Please take note: UNAUTHORIZED USE OF PHOTOGRAPHIC AND SOUND RECORDING EQUIPMENT IS STRICTLY PROHIBITED. PATRONS ARE REQUESTED TO TURN OFF THEIR CELLULAR PHONES, ALARM WATCHES, OR OTHER NOISE-MAKING DEVICES THAT WOULD DISRUPT THE PERFORMANCE. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the concert. THE LIBRARY OF CONGRESS Atlas Performing Arts Center FRIDAY, NOVEMBER 30, 2012, at 9:30 p.m. THE mckim Fund In the Library of Congress American Contemporary Music Ensemble Rob Moose and Caleb Burhans, violin Nadia Sirota, viola Clarice Jensen, cello Timothy Andres, piano CAROLINE ADELAIDE SHAW Limestone and Felt, for viola and cello DON BYRON Spin, for violin and piano (McKim Fund Commission) JOHN CAGE (1912-1992) String Quartet in Four Parts (1950) Quietly Flowing Along Slowly Rocking Nearly Stationary Quodlibet MICK BARR ACMED, for violin, viola and cello Intermission *Meet the Artists* yMusic Alex Sopp, flutes Hideaki Aomori, clarinets C.J.
  • 2012-Fall.Pdf

    2012-Fall.Pdf

    MAGAZINE BowdoiVOL.84 NO.1 FALL 2012 n KLINGLE AND KOLSTER A RIVER LOST AND FOUND AN OLD TRADITION AND A NEW CURRICULUM FOR FILM NIGHT SHIFT BREWING: A COMMITMENT TO CRAFTMANSHIP FALL 2012 BowdoinMAGAZINE CONTENTS 14 A River Lost and Found BY EDGAR ALLEN BEEM PHOTOGRAPHS BY BRIAN WEDGE ’97 AND MIKE KOLSTER Ed Beem talks to Professors Klingle and Kolster about their collaborative multimedia project telling the story of the Androscoggin River through photographs, oral histories, archival research, video, and creative writing. 24 Speaking the Language of Film "9,)3!7%3%,s0(/4/'2!0(3"9-)#(%,%34!0,%4/. An old tradition and a new curriculum combine to create an environment for film studies to flourish at Bowdoin. 32 Working the Night Shift "9)!.!,$2)#(s0(/4/'2!0(3"90!40)!3%#+) After careful research, many a long night brewing batches of beer, and with a last leap of faith, Rob Burns ’07, Michael Oxton ’07, and their business partner Mike O’Mara, have themselves a brewery. DEPARTMENTS Bookshelf 3 Class News 41 Mailbox 6 Weddings 78 Bowdoinsider 10 Obituaries 91 Alumnotes 40 Whispering Pines 124 [email protected] 1 |letter| Bowdoin FROM THE EDITOR MAGAZINE Happy Accidents Volume 84, Number 1 I live in Topsham, on the bank of the Androscoggin River. Our property is a Fall 2012 long and narrow lot that stretches from the road down the hill to our house, MAGAZINE STAFF then further down the hill, through a low area that often floods when the tide is Editor high, all the way to the water.
  • Stories Matter: the Complexity of Cultural Authenticity in Children's Literature (Pp

    Stories Matter: the Complexity of Cultural Authenticity in Children's Literature (Pp

    DOCUMENT RESUME ED 480 339 CS 512 399 AUTHOR Fox, Dana L., Ed.; Short, Kathy G., Ed. TITLE Stories Matter: The Complexity of CulturalAuthenticity in Children's Literature. INSTITUTION National Council of Teachers of English, Urbana,IL. ISBN ISBN-0-8141-4744-5 PUB DATE 2003-00-00 NOTE 345p. AVAILABLE FROM National Council of Teachers ofEnglish, 1111 W. Kenyon Road, Urbana,.IL 61801-1096 (Stock no. 47445: $26.95members; $35.95 nonmembers). Tel: 800-369-6283 (Toll Free); Web site: http://www.ncte.org. PUB TYPE Books (010).-- Collected Works General (020) -- Opinion Papers (120) EDRS PRICE EDRS Price MF01/PC14 Plus Postage. DESCRIPTORS *Childrens Literature; *Cultural Context; ElementaryEducation; *Literary Criticism; *Multicultural Literature;Picture Books; Political Correctness; Story Telling IDENTIFIERS Trade Books ABSTRACT The controversial issue of cultural authenticity inchildren's literature resurfaces continually, always elicitingstrong emotions and a wide range of perspectives. This collection explores thecomplexity of this issue by highlighting important historical events, current debates, andnew questions and critiques. Articles in the collection are grouped under fivedifferent parts. Under Part I, The Sociopolitical Contexts of Cultural Authenticity, are the following articles: (1) "The Complexity of Cultural Authenticity in Children's Literature:Why the Debates Really Matter" (Kathy G. Short and Dana L. Fox); and (2)"Reframing the Debate about Cultural Authenticity" (Rudine Sims Bishop). Under Part II,The Perspectives of Authors,
  • Adam Schoenberg

    Adam Schoenberg

    SCHEDULE OF PERFORMANCES AND EVENTS - check denison.edu/series/tutti Monday, March 4, 6:30 pm, Knapp Performance Space Artist Talk with Vail Visiting Artist Tara Booth, ‘Inward & Onward: The Contemporary Ceramics of Tara Booth,’ Tuesday March 5, 10:00 am Swasey Chapel Workshop with Third Coast Percussion, ‘Think Outside the Drum” 8:00 pm, Denison Museum The Weather Project - Artist Talk and Concert with Nathalie Miebach and Student Composers Concert with ETHEL and Students, Wednesday, March 6, 1:30 pm, Swasey Chapel Composers Workshop with Third Coast Percussion on Composition, Swasey Chapel 6:30 pm, Burke Recital Hall Composition and Improvisation: Philosophers and Musicians in Dialogue with John Carvalho, Ted Gracyk, Mark Lomax II and ETHEL Thursday, March 7, 11:30 am, Burke Rehearsal Hall Composition Seminar with Adam Schoenberg, 3:00 pm, Burke Recital Hall Concert One with Guest Artists and the Columbus Symphony Quartet 7:00 pm, Burke Recital Hall Concert Two with Denison Wind Ensemble and Symphony Orchestra, with guest artists ETHEL Friday, March 8, 10:00 am, Burke Recital Hall Concert Three with Faculty, Students and Guest Artists 11:30 am, Burke Rehearsal Room Conversation with: Third Coast Percussion, ETHEL, and Adam Schoenberg 3:00 pm, Burke Recital Hall Concert Four with Chamber Singers, Jazz Ensemble, Faculty and Guest Artists 7:00 pm, Burke Recital Hall Concert Five ‘Words and Music with ETHEL and Michael Lockwood Crouch, actor, and Denison Creative Writing Students, Saturday, March 9, 10:00 am, Knapp Performance Space Concert Six with Faculty and Guest Artists, 11:00 am, Composers Forum - Knapp (various locations) - Composers 3:00 pm, Burke Recital Hall Concert Seven ‘New American Music Project 3.
  • January 19, 2018

    January 19, 2018

    in concert with MEREDITH MONK Performing works by ZORN MONK RZEWSKI BYRON FUNG BROWN Jan 19, 2018 at the San Francisco Conservatory of Music in the LABORATORY Series San Francisco Contemporary Music Players San Francisco Contemporary Music Players (SFCMP), a 24-member, unionized ensemble of highly skilled musicians, performs innovative, large-ensemble, contemporary classical music with a spotlight on California composers. SFCMP aims to nourish the creation and dissemination of new works through high-quality musical performances, commissions, education and community outreach. SFCMP promotes the music of composers from across cultures and stylistic traditions who are creating a vast and vital 21st-century musical language. SFCMP seeks to share these experiences with as many people as possible, both in and outside of traditional concert settings. Tonight’s event is part of SFCMP’s In the Laboratory Series, where you will experience contemporary classical works that have pushed the boundaries of the concert format through experimentation and exploration. WE DEDICATE our 2017-18 season to our artistic director STEVEN SCHICK, in gratitude for his 7 years of dedication to SFCMP. Thank you, Steve! Steven Schick Solo Performance SAT, MAR 24, 2018 at Z Space 5:30 pm Steven Schick Celebration Reception and Toast 7:00 pm CONCERT Artistic Director and percussionist Steven Schick, who celebrates his final season with SFCMP, will perform in a special Saturday evening solo concert made for this occasion. On the program: Iannis XENAKIS’s Psappha; Kurt
  • Ronald Davis Oral History Collection on the Performing Arts

    Ronald Davis Oral History Collection on the Performing Arts

    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
  • MARC IRWIN Is a Pianist, Composer, Arranger, and Recording Artist, Dr

    MARC IRWIN Is a Pianist, Composer, Arranger, and Recording Artist, Dr

    MARC IRWIN is a pianist, composer, arranger, and recording artist, Dr. Marc Irwin uses his diverse talents as a musician within the fields of contemporary, jazz, classical, theater, and world musics. Currently residing in the Baltimore/Washington, DC area. Marc Irwin is a native New Yorker who has played for and with a variety of top performers. Presently, Marc Irwin is a pianist and musical director with The Capitol Steps, performing political satire throughout the 50 United States and Canada. Marc Irwin’s Broadway credits include, " Crazy For You," " City Of Angels," "Romance, Romance," "Jerome Robbins’ Broadway," "Sunday In The Park With George," "Cats," "The Mystery Of Edwin Drood," and "The Rink." Marc Irwin was a pianist and vocal coach on the production staff of Comden and Green’s "A Doll’s Life," and was Assistant Musical Director for "Mrs. Farmer’s Daughter" by Jack Eric Williams, produced by the Pepsico-Summerfare at SUNY Purchase, in Purchase, New York. Marc Irwin released two jazz CDs in 1986 and 1988 with guitarist Daniel Carillo, "Crossing of The Spirit" and "A Child’s Play." In 1997 Marc released on line "Suite For My Father", a solo piano collection and, with the trio Urbnergy, with bassist Marty Confurius and drummer Don Mulvaney, released "Urbnergy" and "Three Of A Kind" in 2011. In the 1980s Marc Irwin toured with Harry Belafonte as the sound designer and keyboardist in the United States, Europe, Asia and Africa . Since the early 1990s Marc Irwin has performed in musicals in the Baltimore/Washington, DC area at The Kennedy Center, The National Theatre, The Hippodrome, and The Lyric Opera House.
  • Toronto Jazz August-September 2015

    Toronto Jazz August-September 2015

    A VERY SAD LOSS OF TORONTO BORN CANADIAN JAZZ LEGEND ARCHIE ALLEYNE January 7. 1933 – June 8. 2015 ISSUE #128 20th YEAR AUGUST/SEPTEMBER 2015 A VERY SAD LOSS OF TORONTO BORN CANADIAN JAZZ LEGEND ARCHIE ALLEYNE January 7. 1933 – June 8. 2015 AUGUST/SEPTEMBER 2015 HALLWALLS – BUFFALO- NEW YORK – U.S.A. Photos by Barry Thomson Larry Ochs Steve Baczkowski Virginia Genta Norman Marshall Villeneuve Dave Rempis Darren Johnston @ THE DISILLERY ARRAY SPACE Ken Vandermark Daniel Carter Michael Snow Gunther Alexander Schuller Gunther Schuller Novemember 22. 1925 – June 21. 2015 Photo by Barry Thomson The last time I had the plea- sure of seeing this eminent artist was when he received the NEA Jazz Masters Award for Jazz Advoca- cy in 2008. New York born Schuller was an com- poser, conductor, horn player, author, historian and jazz musician. After studying at the Saint Thomas Choir School he became an accomplished French horn and flute player. By age fifteen he was already playing horn professionally with the American Ballet Theatre, that was back in 1943. Then from 1943-45 principle hornist with the Cincinnati Symphony Orchestra, shortly after the Metropolitan Opera Orchcestra in New York where he stayed until 1959. His career in jazz began in 1949-50 by recording as a horn player with Miles Davis. Next up Schuller and jazz pianist, John Lewis founded the Modern Jazz Society in 1955, which gave it's first concert at Town Hall , New York. Later that same year the group’s new name evolved, Jazz and Classical Music Society. Schuller was always exploring the fusion of jazz and classical music, and while lecturing at Brandeis University in 1957, he coined the term “Third Stream” to describe music that combines classical and jazz techniques.
  • An Exploration of Extra-Musical Issues in the Music of Don Byron Steven Craig Becraft

    An Exploration of Extra-Musical Issues in the Music of Don Byron Steven Craig Becraft

    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 An Exploration of Extra-Musical Issues in the Music of Don Byron Steven Craig Becraft Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AN EXPLORATION OF EXTRA-MUSICAL ISSUES IN THE MUSIC OF DON BYRON By STEVEN CRAIG BECRAFT A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2005 Copyright 2005 Steven Craig Becraft All Rights Reserved The members of the committee approve the treatise of Steven Craig Becraft defended on September 26, 2005. ____________________________ Frank Kowalsky Professor Directing Treatise ____________________________ Denise Von Glahn Outside Committee Member ____________________________ Jeffrey Keesecker Committee Member ____________________________ Patrick Meighan Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS To Don Byron: Thank you for making such fascinating music. I thoroughly appreciate your artistic vision, your intellect, and your phenomenal technique as a clarinetist. The knowledge I have gained and the new perspective I have on music and society as a result of completing the research for this treatise has greatly impacted my life. I am grateful for the support of the Arkansas Federation of Music Clubs, especially Janine Tiner, Ruth Jordan, and Martha Rosenbaum for awarding me the 2005 Marie Smallwood Thomas Scholarship Award that helped with final tuition and travel expenses. My doctoral committee has been a great asset throughout the entire degree program.
  • Read a Complete Transcript of the Interview

    Read a Complete Transcript of the Interview

    In the 1st Person : March 2005 NewMusicBox The Inside Story: Stephen Scott talks with Frank J. Oteri Friday, November 12, 2004—4:30-5:30 p.m. The American Music Center Videotaped by Randy Nordschow Transcribed by Randy Nordschow and Frank J. Oteri Like much of the music I love, Stephen Scott's music first entered my life on an LP. It was over 20 years ago, when I was a DJ at Columbia University's radio station WKCR. Stephen Scott's LP, New Music for Bowed Piano, arrived in the mail with two others—one featuring music by Ingram Marshall, the other by Paul Dresher—all on a record label I had never heard of before called New Albion. In the years since, I've actively followed the careers of all three, both as a listener and someone who writes about music. I've talked with Ingram for NewMusicBox and I've written program notes about Paul Dresher. But, until now, I was never able to verbally catch up with Stephen Scott until he came to visit us at the American Music Center. In some ways, Stephen Scott is the most methodical of these three postminimalist composers who all made minimalism less methodical in very different ways. Not in terms of compositional techniques, but in terms of his sonic vocabulary: all of his work on recordings and most of the music he composes is for his own ensemble of musicians who bow, hammer, scrape, and do any number of other activities inside a grand piano. To this day, aside from this brief video of his piece Entrada, I've never "seen" his music live.